Sentences with phrase «not move the viewer»

But I am most interested in the way the objects may or may not move the viewer to think about the subject matter than I am with labeling them a particular medium.»

Not exact matches

The battle has moved out of viewers» living rooms, where Americans once marveled at their ability to pop a cassette into a recorder and capture their favourite programs or the sporting event they wouldn't be home to see.

It's understandable Valsecchi wanted the handshake for the TV viewers, but F1's moved on from their Baku clash and it just caused a bit of a weird situation — when really, it wasn't much of a big deal.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

It moves along at a pace that doesn't allow viewers to really comprehend what is going on, or become emotionally invested in the various subplots.

(In case viewers aren't moved enough by this grievous episode, Amiel includes a wrenching subplot of an orangutan taken from the wild and confined in a European zoo.)

Even the screenwriters get blasted in most of the reviews posted online, similarly to TheWrap's film critic Andy Klein «s review, who said «the four credited screenwriters — the returning Creighton Rothenberger & Katrin Benedikt, plus Christian Gudegast («A Man Apart») and Chad St. John — make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer's mind.»

Hooper is not very plot heavy, and does have a mindlessness about it that may not make it appealing to viewers who need a forward moving story at all times.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

Can't move on until the viewer's had a chance to... Continue reading →

Penn demands his viewer interpret each moment and, if he or she doesn't get it right, there's no make - up exam... the film just moves forward.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

McTiernan directs a confined story better than anyone I can think of — because he inserts the viewer in the building with the characters... But the viewer isn't tied down to Willis, the viewer gets to move....

The source novel is the sixth novel in a series and the film — in a seemingly bold but utterly misguided move (much of it would be incoherent if I hadn't once read the novel)-- assumes the viewer is going to be familiar with all of the previous novels.

Acting for the silver screen doesn't get more raw, moving or accomplished than what you see in «The Fighter,» that rare film in which every performer in it leaves the viewer in awe.

Not all viewers will accept this arguably sociopathic move, but it's a tidy meet - cute with an enjoyably farcical payoff as Nancy is forced to maintain her own false identity while feigning knowledge of his.

Iranian - born director Babak Najafi («Sebbe») and the four credited screenwriters — the returning Creighton Rothenberger & Katrin Benedikt, plus Christian Gudegast («A Man Apart») and Chad St. John — make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer's mind.

As Abe splits his time between Jill and Rita, and as scenes move from one to the other, a viewer may be rooting for Rita to be the one at Abe's side and let down when she is not.

Scorsese's love letter to the musicals of the 40s and early 50s doesn't always move forward its story, which at nearly three hours in length, might cause less patient viewers to become restless.

The result is neither moving nor charming — not to mention particularly funny to viewers over the age of ten — and the lackluster work of the B - level star cast (which also includes Arquette-less Courteney Cox and Andie MacDowell) makes one further yearn for the days of animated features starring bonafide voice actors.

I didn't like the PDF viewer b / c it came up so dang small, you couldn't see it, and if you enlarged it you were having to move the doc all around to see from side to side, so annoying.

In a study slated for release later this year in the journal Applied Animal Behavior Science, researchers concluded that televised moving images of prey animals hold «some merit as a method of environmental enrichment for domestic cats,» so time in front of the tube may not be unproductive, at least for feline viewers.

The leap forward in time is a daring move, especially since the kids that watched the first movie haven't grown up anywhere near as much as Hiccup and his friends have, yet everything is kept relatable for the younger viewers while the change gives older fans even more to enjoy.

Hey, I'm not sure how much interest there still is around something like this, but here's a hitbox viewer for the Steam ports of AC+R and #Reload: https://github.com/odabugs/kof-combo-hitboxes/releases There are a few issues remaining such as the lack of grab hitboxes, incorrect hitbox scale on a few moves like Millia 236H or May 236236S, and several projectile moves not showing any hitboxes in #Reload (doesn't seem to be an issue in + R), but overall most of the moves I've tested are correct.

At this point I don't think I want my channel to grow much larger as I've always enjoyed talking to my viewers and I think if I got any more, the chat would move to fast for both me and them to enjoy.

It wasn't that these artists weren't admired, but that the urgency to move forward, to create new visions, to have a different dialogue with the viewer and art history, was powerful.»

This is not the case for all the work, and two pieces, radically different in form and composition, move beyond the intricacies of internal formal dialogue to effectively engage with the viewer, the gallery space, and larger questions about art's transformational power.

Bulgarian artist Nedko Solakov presents A (not so) White Cube (2001), a site - specific installation of tiny wall drawings only visible when the viewer moves close to the white walls of the gallery space.

In this show the serenely sphinx - like faces are a template through which the artist can systematically explore the concerns of painting and drawing, not ignoring the sentimental implications of rendering a human likeness, but by their blankness and repetition allowing the viewer to move on to other aspects of the work besides «who is this» or «what can I learn about this person.»

That project can not help but be contextual: It imagines its viewers individually rather than collectively and targets them each as they move through the spaces of the show.

They employ optical tension not so much to fool the eye but to engage the viewer in a moving energy field.

Rare as it is for the selfie generation to not snap and move on, the young viewers around me were leaning in, holding their mobile phones behind them, to ponder each line.

Sounds of bullets and vague colors dominate the screen reminiscent of war footage but as the camera moves away from the wall it's already facing you realize you are in the interior of an experiment: a chamber in a busy place where the viewers are not let in and are controlling while watching an attack of color from the outside.

This emptiness created by means of reserved enactments, minimal interventions and reduced gestures makes space for the relationship between the separate works, mutually charged by their interaction, and thus opens up the interpretative impetus for the viewer's perception that is driven not only by seeing, but also by moving around, feeling and hearing.

This color is itself cut with beeswax, at a low enough level not to conjure up associations with well known purveyors of the encaustic technique, like Jasper Johns and Brice Marden; it instead increases the sensation of the paint as dense and saturated, and gives it a subtle, changing play of light over the surface as the viewer moves around the work.

«I was more excited about the relationship of my work to viewers and audiences than I was thinking about my career, which probably wasn't the smartest move on my part,» laughs Thomas.

At the same time that the viewer is often put in the position of a kind of detective, oftentimes narrative itself ultimately becomes a kind of MacGuffin, important not so much for itself but for the formal and conceptual moves it makes possible.

The work not only presents images of the earth produced by a camera moving in various directions at varying speeds, but invites the viewer to inhabit the image itself — to be, literally, «in the way.»

Swain's work moves the viewer to not just see color, but also to think and experience it.

The move to online content is not entirely for your convenience — the interactivity of the medium makes it possible for them to gather more data about their viewers than they ever could with a simple TV broadcast.

The viewer's vision is not impeded which means this technology can be used while moving around.

When word spread in 2016 that Google would move into serious virtual reality, not just disposable cardboard viewers, my colleague Dieter Bohn immediately put a couple of pieces together.